Canadian Film Digest (Nov 1971)

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NOVEMBER, ‘MAHONEY'S ESTATE’ NOW FILMING AT TORONTO

INTERNATIONAL FILM STUDIOS
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PRURIBUTORS: HEAD OFFICE — TORONTO

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IN THIS ISSUE

Production Scene

Special Section

Toronto International
Film Studios

C.P.P. Award Presentation

Canadian Production

‘Mahoney’s Estate’, and "The
Rowdyman’

EDITOR
DAN KRENDEL

Asst. Editor
HARRIET BERNSTEIN

Published Monthly
by

Film Publications of Canada Ltd.

175 Bloor St. E.
Toronto 285, Ont.
Telephone 924-3701

Second Class Mail

Registration No. 2587
Postage Paid in Oshawa

CANADIAN FILM DIGEST

A MONTHLY COMMENTARY ON THE CANADIAN MOTION PICTURE SCENE
Encompassing the CANADIAN MOVING PICTURE DIGEST, founded in 1915, and
the CANADIAN FILM WEEKLY founded in 1941.

LET THE CHIPS

FALL
WHERE THEY MAY

There was a time when managing a theatre was a serious, full-time job, and the
local theatre manager was not only aShowman by nature and experience, but a
man of considerable stature in his community. He walked in dignity and rubbed
shoulders with the great and near-great, both in his work and in his leisure
time—such as it was. An honestly dedicated manager was wedded to his theatre
and spent the major portion of his daily 24 hours ‘On the Job’, and the great
majority found it a satisfactory and exhilarating experience. And, the theatre
owners derived maximum benefits from this dedication.

But time took its toll, and being only mortals, managers grew older, some
died, others were retired to make way for new blood. The manpower situation
became so critical that theatres were turned over to young kids in their teens,
with no background and no experience, and certainly no desire to follow in the
footsteps of their predecessors. Many became simply ‘key carriers’—opening the
theatre sometimes on schedule, and locking up. Some didn’t even go that far,
but delegated those duties to a doorman, cashier, candy girl, or even alone usher
so they could attend to their own pleasures and show up in time to collect their
pay and sometimes sign the reports.

‘Showmanship’ had died an inglorious death, and the box-office began to
suffer, and nobody seemed to care. The new breed of manager wasn’t around
long enough to get to know anybody .. . politicians, news media, merchants or
even their own customers. Some openly admitted that they were just using the
job as a stepping-stone, and were ready to quit the moment something better
turned up. Still, nobody cared.

In retrospect it seems that the ‘Golden Age’ of the movies suffered a relapse
not only because of the worsening product situation, but the equally serious
lack of experienced, knowledgeable theatre managers qualified to properly sell
such product as was available.

It is still not too late to plug the management ‘Generation Gap’, and force a
re-birth of Showmanship as we knew it, if we'll only swallow our pride and
concede that good executives as good wine, improve with age.

fou |

EDITOR

UR BUSINESS WATaylor

Should Canada have a feature film
quota? Such a move has been advo-
cated, frequently, by various indivi-
duals and groups, in recent years. The
Current spurt in feature production has
increased the demand. It is high time
that the merits and drawbacks of such
suggestion should be discussed in a
sensible and dispassionate manner.

The case for a Canadian feature
quota is based on the theory that if
every theatre has to run a percentage of
Canadian films, more distributors
would be forced to distribute them and
all theatres would have to play them.
This, it is claimed, would be a logical
extension of the CRTC. The con-
comitant, of course, is that this would
lead to greater employment in the area
of film-making and some people would
benefit accordingly. Therefore, it
would appear to become principally a
“make work” project. We know of no
other arguments to further the case.

Feature films for exhibition in
motion picture theatres for an admis-
sion price, do not fall into the same
category as documentary or entertain-
ment films or shows for TV. In the case
of TV, the public airwaves are being
used for transmission and, presumably,
for profit if broadcast by private enter-
prise. There is good reason for quota in
TV because it is not only an entertain-
ment but an information medium and it
is extremely important that Canadian
talent has a ‘’showcase”’. A great many
writers, actors, producers and skilled
workers have been living comfortably
or marginally, for years from the annual
expenditures made by the CBC in pro-
duction. Notwithstanding, there has
been continuing complaint that not
enough is being produced in Canada, It
is important to note that production of
Canadian shows does not necessarily
guarantee creation of Canadian
audiences.

A

A FEATURE FILM
QUOTA
FOR CANADA

This system of quota for TV does
not fit feature films. Under the most
favourable circumstances, Canada can-
not represent more than 10% of the
potential of a feature film. We have seen
examples where films produced, in
French, in Quebec, have recouped all
their negative costs and have even made
profits. This does not necessarily apply
to films made in the English language.
In this area we must assume that the
production of feature films becomes
primarily an export product. Therefore,
if one hundred per cent potential book-
ing was realized on any Canadian fea-
ture and on the assumption that it did
very good business at the box-office,
one could still not anticipate recoup-
ment of negative costs. It does not make
much sense to sponsor the production
of Canadian films simply to lose money
in Canada. Quota films have always
notoriously been made ‘for cheap”. In
the old days, before TV, it was possible
in a country like England, to recoup
costs and make a modest profit out of
such films. This no longer is the case and
the potential there is considerably
higher there than that in Canada.

Some years ago, while acting as a
member of a panel in a seminar on
Canadian film production, one aspiring
young producer put the following ques-
tion: “Are you in favour of a quota for
Canadian feature films?’ To which we
replied, “The answer is a big yes,
provided, at the same time, the govern-
ment will legislate that people will have
to go and see them.” And that is really
the core of the whole matter.

The quota system existed in England
for many years before the advent of TV
and even in those days it was difficult to
get people to pay to see films which
they would rather avoid. It is question-
able whether, even in dictatorship
countries, people can be forced to look
at movies they do not want to see. It

must follow, therefore, that legislating
theatres to play movies no one wants to
see is, after all, not the answer, A
continuing and viable motion picture
feature production industry cannot be
based on quota and will create more
evils than it will do good. In point of
fact, there is only one way in which an
industry can be established and that is
with the right aid from the government.
Because of our constitution and our
relatively small population, it is evident
that we cannot emulate the type of aid
which has been established in many
foreign countries. Another way must be
found and it must be practical so that
any government in power will not be
subject to censure or criticism.

The Canadian content quota is no
guarantee of Canadian viewership.
Those set owners, who have available to
them, American television by the twirl
of a dial, may very well switch if
Canadian content or entertainment
does not prove interesting.

It has frequently been stated, quite
glibly, by those who have an axe to
grind, that distribution of films in
Canada is controlled by foreign inter-
ests. This is only a half truth. There area
number of good and responsible Can-
adian-film distributors. They are con-
stantly on the watch for any films
which are “‘bookable’’. The statement
has also been made that the principal
circuits are foreign controlled and,
therefore, not desirous of helping Can-
adian feature production. This also is a
half truth. Both distributors and exhibi-
tors must operate on prudent com-
mercial lines or go out of business.
Therefore, to distribute or attempt to
exhibit films which will not sell tickets
must be economic suicide. In point of
fact, neither distributor or exhibitor
cares at all where a film is produced.
The criterion must always be quality
and attractiveness for the public.

The suggestion has also been ad-
vanced that the government set up a
circuit of small-seating, low overhead
cinemas to exhibit features of “limited
commercial potential’. Anyone with
even a partial knowledge of theatre
operation must know that this is a snare
and a delusion. The cost and losses
would soon prove to be a quagmire of
financial loss for the government.

We have always been in favour of a
greater motion picture feature film
industry for Canada. This must be built
on a solid foundation, rather than one
of sand. There is a way for the govern-
ment to do this, if it has a mind to,
without the expenditure of any further
funds. The advantages and benefits
would be manifold. Certainly, the
answer does not lie in quota.

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Cities and
¢People
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‘Toronto
“International

ilm
Studios

A unique place to make films.

Imagine a place located
deep in the heartland of Ontario,
the Canadian province
that is so large you could drop the states of
Texas, New York and Massachusetts
into it and still have plenty of room
to add the United Kingdom
and all of the 120 Bermudian Islands.

Imagine a back lot of 140 acres
of trees which were there when
Columbus discovered the new world;
a river shallow and deep
winding through picturesque hills; and on
the edge of this virgin land,
a complex of solidly constructed modern buildings:

two sound stages, each
120 feet by 80 feet and 33 feet high
each sound-proofed from the other
and also from the connecting 160 foot long and
40 foot wide carpentry, mill and plaster shop;
include an attached air-conditioned administrative
building containing 10 production offices,
16 dressing rooms, 8 editing rooms, screening rooms,
2 wardrobe rooms, and 2 make-up rooms.

Imagine all this in
the metropolitan city of Toronto
one hour from New York
three and a half hours from Los Angeles
six and a half hours from London
and you have an accurate description of the
finest film studios east of Hollywood:
Toronto International Film Studios...
A place that offers not only
access to the most varied and magnificent
natural resources anywhere,
but also provides the services of a vast pool
of human resources.
People like...

N. A. (Nat) Taylor, a recognized leader
of the Canadian Film Industry.
With his associates, he built the Toronto
International Film Studios
as a visible expression of their faith in the
future of film-making in Canada...
A country that has long been a spawning-ground
) for international film talent,
directors, writers, actors, names suchas:

Sharon Acker, Paul Almond, John Aylesworth,
Lloyd Bochner, Christopher Chapman, Leonard Cohen,
John Colicos, Glenn Ford, Don Francks,
Syd Furie, Lorne Greene, Arthur Hailey,
Donald Harron, Harvey Hart, Arthur Hill,
Arthur Hiller, Francis Hyland, Charles Israel,
Norman Jewison, Claude Jutra,
Ted Kotcheff, Frank Peppiatt, Christopher Plummer .. .

the list goes on and on.
And as Canada continues to grow, so the
country continues to produce
the human resources — the people and the talent —
with which some of the great
motion pictures of the future will be produced.
Technicians, equipment, technical
facilities, all are available in Toronto —
cameras — Panavision 70 and 35,
Mitchells and Arrieflex, blimped and wild,
Eclare self-blimped 16 and 35;
Moveola and Fisher dollies, Steinbecks, moveolas,
Nagra sound equipment, everything conceivable
in lights; processing laboratories, cooperative unions...
all building confidence in our claim
that Toronto International Film Studios is
indeed, a unique place to make films.

+ ¥.

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SEDNILDA (COW LOIE

BrlUONS lOomstrec tsiics a ges
M@oronto; Ontario, Canada = SSS
Area Code 416) 924-3701 SSS SSS

ommor
J

PIONEER AWARD DINNER
GALA INDUSTRY EVENT

On Wednesday, October 6th, more than
300 Picture Pioneers and their guests
gathered in the Centennial Ballroom of
the Inn on the Park in Toronto to do
honour to five members of the C.P.P.
who were selected by a committee of
past award winners as recipients of this
year’s awards.

Myer L. Axler received the Pioneer
of the Year Award and a painting of
himself from N. A. Taylor, himself a
past President and award winner, who
also presented Mrs. Axler with a bou-
quet of beautiful red roses. Special
awards were presented to Owen Bird of
Vancouver by Vice-President of the
Pioneers Len Bernstein, Phil Maurice of

or. =

ad

FROM LEFT:N.A. TAYLOR,

SAM SPIEGEL NAMED
PRODUCER OF THE
YEAR

Three-time Academy Award winner,
and producer of the eagerly-awaited
NICHOLAS AND ALEXANDRA, Sam
Spiegel flew to New York to accept the
Producer of the Year Award from the
National Association of Theatre
Owners at their annual convention in
the Hotel Americana.

At the same time, Franklin J.
Schaffner, director of the picture was
presented with the Director of the Year
Award.

NICHOLAS AND ALEXANDRA
will be world-premiered by Columbia
Pictures at the Criterion Theatre on
Broadway on December 13th.

CANADIAN FILM DIGEST

ry ’ ; 4. =

Montreal received his award from
Romeo Goudreau, President of the
Quebec Branch of the Pioneers, and R.
W. Bolstad, a past President and past
award winner made the presentations to
Andy Rouse and Lionel Lester of
Toronto.

Following the dinner the Pioneers
and their guests spent the balance of the
evening talking about the ‘Good Old
Days’, bending the odd elbow, and
dancing to the sentimental music of Art
Hallman and his orchestra.

In the accompanying photo Mr. N.
A. Taylor is shown presenting the Pio-
neer of the Year Award to Myer Axler,
and roses to Myer’s wife Mildred.

: oh

i.

ILDRED ANDMYER AXLER

From the left: SAM WATERSON, DIANA
LEBLANCE, HARVEY HART, MAUD
Ses ALEXIS KANNER, JOHN T.

Currently filming at Toronto Interna-
tional Film Studios at Kleinburg, Ont. is
"MAHONEY’S ESTATE’, an original
story by Terrence Hefferman of
Montreal, with the screenplay being a
co-operative effort by Hefferman and
Alexis Kanner. Executive Producer is

John T. Ross, Director Harvey Hart,
and stars Sam Waterson, Diana LeBlanc,
Maud Adams and Alexis Kanner.

Mahoney is played by 29 year old,
Canadian born Alexis Kanner who
spent several years in England, on the
stage, in filmsand in T.V.

Felix is played by Sam Waterson, a
young actor who has gained promi-
nence on Broadway.

Maud Adams as Miriam, is one of
America’s top models, a Swedish
beauty who, in MAHONEY’S ESTATE
has accepted the role as her first major
commitment to films.

Torontonian Diana LeBlanc, Strat-
ford-trained, plays Joy, and may well
steal all the scenes she appeared in.

MAHONEY ’'S ESTATE is a touching
story about an alcohol soaked
29-year-old who decides to leave the
city to return to the soil and be reborn.

This is but the beginning...
Mahoney re-born . . . Mahoney tanned,
fit, and who knows, a major figure in his
community? Politics?

Then there is Mahoney’s other life—
and Felix... Felix with his contempt
for the ‘Lunatic Farm’, his rude and
brutal cynicism ...and Gordie
Robinson, a true-blue button-down
type, crooked smile but straight teeth,
and of course Miriam...the most
beautiful creature Mahoney has ever
seen in his entire life.

And Joy...dear little pregnant
Joy. She follows Felix to the farm, and
Mahoney, finding that even two is a
crowd, is apoplectic. None of this com-
mune stuff for Mahoney. He wants to
be alone to grow his vegetables, sweat
behind his plow, his woman, his stand in
‘God’s vast and honest country.’ No-
body, including Mahoney is quite sure if
the great experiment is going to work.
He means everything he says and does.
He's also full of hot air. He’s big enough,
small enough, to be a bit of each of us,
at every age, and from every situation.
From the looks of it, we will, after all,
only be chuckling at ourselves.

The film has been budgeted at ap-
proximately $650,000.00, and is being
financed completely in Canada, by the
C.F.D.C., Niagara Television Ltd.,
Topaz Productions Ltd., and Robert
Lawrence Productions (Canada) Ltd.
Distribution will be handled in Canada
by 1.F.D., and International distribu-
tion is presently in the negotiation
stages. MAHONEY’S ESTATE will be
ready for dating in April of 1972.

17

IN PRODUCTION

UNITED ARTISTS has FUZZ, a Film-
ways-Javelin production currently film-
ing in Hollywood, after which it will
move to Boston for further location
shooting. The screenplay by Evan
Hunter was adapted from Ed McBain’s
novel. Richard Colla will direct stars
Burt Reynolds, Yul Brynner and
Raquel Welch.

20TH CENTURY-FOX is currently
filming THE POSEIDON AD-
VENTURE aboard the retired 80,000
ton superliner Queen Mary. Gordon
Douglas is directing with Irwin Allen as
producer. The screenplay by Wendell
Mayes is based on Paul Gallico’s best-
seller.

WARNER BROS. has LOUISE
presently in production on location in
Annecy, France. Screenplay by Jean
Loup Dabadie is based on Jean-Louis
Curtis’ story. Stars are Jeanne Moreau
and Julian Negulesco.

M.G.M. has three in various stages of
production. ACASE OF NEED, a Blake
Edwards-William Belasco production is
presently filming on location in Boston.
The screenplay by Irving Ravetch,
Harriet Frank Jr., Blake Edwards and
John D. F. Black is based on Jeffrey
Hudson’s prize-winning novel. James
Coburn and Jennifer O'Neill star.

ONE !IS A LONELY NUMBER, a
David L. Wolper production is currently
filming in San Francisco. The screen-
play by David Seltzer is based on
Rebecca Morris’ short story. Mel Stuart
is directing and Stan Margulies produc-
ing. Melvin Douglas and Trish Van
Devere star.

The Cy Howard-Leonard Ackerman
production EVERY LITTLE CROOK
AND NANNY is now filming in Cali-
fornia, with Howard directing and
Ackerman producing. Screenplay was
adapted by Howard, Jonathan Axelrod
and Robert Klane from a novel by Evan
Hunter. Stars are Lynn Redgrave,
Victor Mature and Dom DeLuise.

COLUMBIA has four before the
cameras. THE NEW CENTURIONS, a
Robert Chartoff-Irwin Winkler produc-
tion is presently filming in Los Angeles.
Screenplay by Stirling Silliphant
adapted from the best-selling novel by

18

Joseph Wambaugh. Richard Fleischer is
directing stars George C. Scott, Stacey
Keach and Jane Alexander.

BUTTERFLIES ARE FREE, a Mike
Frankovich production is before the
cameras in Hollywood. Screenplay by
Leonard Gershe based on his own play.
Milton Katselas, who staged the original
Broadway play is directing stars Goldie
Hawn, Edward Albert and Eileen
Heckart.

THE GARNETT SAGA, a Ned Sher-
rin-Associated London Films produc-
tion is presently filming in London.
Screenplay by Johnny Speight is
adapted from his own T.V. series, anda
follow-up to the highly successful film
TILL DEATH DO US PART. Robert
Kellet is directing Warren Mitchell and
Dandy Nichols who re-create their
original starring roles.

Filming is currently underway on
“1776”, motion picture version of the
play which in 1968-69 won both the
Tony Award and the New York Critics’
Circle Award as Broadway’s best
musical. Re-creating their original stage
roles are William Daniels, Howard Da
Silva, Ken Howard, Thomas Jefferson,
David Ford and Virginia Vestoff. Jack
Warner is producer of “1776” which is
filming on the largest set ever construc-
ted at Columbia’s ranch in Hollywood.

UNIVERSAL has JOE KIDD, a Uni-
versal-Malpaso production which was
previously titled SINOLA currently
before the cameras in Arizona. The
screenplay by Elmore Leonard is being
produced by Sidney Beckerman and
directed by John Sturges, starring Clint
Eastwood with Don Stroud and James
Wainwright.

TO START
PRODUCTION

M.G.M. has on its schedule HIJACKED
for filming this fall, from a screenplay
by Stanley Greenberg based on the
novel by David Harper. James Pratt has
been signed as associate producer and
production manager. Casting has not
yet been completed.

THE WRATH OF GOD, a Rainbow
production for Metro will begin filming
on location in Mexico later this month.
The screenplay by Clair Huffaker was
adapted from the novel by James
Graham. Ralph Nelson will produce and

direct. Stars are Robert Mitchum and
Paula Pritchett.

UNITED ARTISTS has two ready
for the cameras. THE MAGNIFICIENT
SEVEN RIDE will be filmed by the
Mirisch Production Company with
actual shooting scheduled for February.
This marks the fourth film based on the
Magnificent Seven characters, with Lee
Van Cleef cast ina starring role. William
Calihan will produce from a screenplay
by Arthur Rowe.

SCANDAL, a Klinger-Caine-Hodges
production will begin filming later this
year on location in Rorne, Naples and
Sorrento. Mike Hodges will direct from
his own original screenplay. Michael
Klinger will produce. Set to star is
Michael Caine.

20TH CENTURY-FOX has one
ready for the cameras, THE EFFECT
OF GAMMA RAYS ON MAN IN THE
MOON MARIGOLDS, based on the
long-running stage play adapted for the
screen by Alvin Sargent. Paul Newman
will produce and direct. Academy
Award winner Joanne Woodward will
star.

COLUMBIA plans to begin filming
in January TWO PEOPLE, on location
in and around Marrakesh, Casablanca
and Paris. This will be produced for
Columbia by the Filmakers Group and
marks the second film to be delivered
under the deal between Columbia and
T.F.G. in which Robert Wise, Mark
Robson and Bernard Donnenfeld are
pdrtners. Wise will produce and direct
from the original screenplay by Richard
De Roy. Casting has not yet been
completed.

THE FANFARE CORPORATION
plans to start shooting later this month
on HOT SUMMER WEEK, from a
screenplay by Larry Bischof, David
Daufman and Michael Levesque.
Kathleen Cody, a regular on several
T.V. soap operas will star.

UNIVERSAL has three ready to go.
BEQUEST TO THE NATION will begin
filming in England in early Spring. Hal
Wallis, currently working on THE
PUBLIC EYE will produce and direct.
This will be the sixth feature Wallis will
produce for Universal.

LIMBO will go into production in
Miami next February with Mark
Robson directing and Linda Gottlieb

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producing from an original screenplay
by Joan Silver. This will be a Filmakers
Group production.

UZANA’S RAID will star Burt
Lancaster in an original Western by
Alan Sharp. This Carter De Haven
production will go before the cameras
in December with De Haven as pro-
ducer. This is Lancaster's first film for
Universal since AlRPORT.

REMBRANDT is completing plans
for the production of THE SENSUOUS
WOMAN from screenplay by Jeannie
Sakol based on the book of Joan
Garrity. This is the biggest-selling non-
fiction book ever written by a woman,
with over 700,000 hardcover sales and
six million paperbacks. William L.
Snyder will produce, and hopes to start
shooting in New York by year’s end.

IN THE CAN AND
READY FOR DATING

COLUMBIA PICTURES has completed
work on the Kastner-Ladd-Kanter pro-
duction X,Y & 2” from an original
screenplay by Enda O’Brien. Film was
produced by Jay Kanter and Alan Ladd
Jr. with Elliot Kastner as executive
producer. Brian G. Hutton directed
stars Elizabeth Taylor, Michael Caine
and Sussanah York.

YOUNG WINSTON, a Richard At-
tenborough production for Columbia is
also ready for dating. Film based on
Winston Churchill’s autobiography
“My Early Years.” Richard Atten-
borough produced and directed stars
Robert Shaw, Anne Bancroft and a
newcomer, Simon Ward as Churchill.

UNIVERSAL has completed MARY
QUEEN OF SCOTS, a Hal Wallis pro-
duction. Chosen for the Royal Film
Performance, this is the second time a
Hal Wallis production has received this
signal honour. Screenplay by John
Hale. Charles Jarrott directed stars
Vanessa Redgrave and Glenda Jackson.

Also from Universal comes
FRENZY, Alfred Hitchcock’s first film
production in England in 21 years.
Anthony Shaffer adapted the screen-
play from Arthur La Bern’s suspense
novel. Filmed at Pinewood Studios
FRENZY stars Jon Finch, Vivien
Merchant, Bernard Cribbons and Alex
McCowen.

WARNER BROS. has completed

=" PRODUCTION NOTES

filming of PORTNOY’S COMPLAINT,
starring Richard Benjamin, Karen
Black, Lee Grant and Jack Somack.
Lehman wrote, produced and directed
PORTNOY’S COMPLAINT, the film
version of Philip Roth’s best-selling

‘novel. Shooting was on location in

Rome, Athens, Tel Aviv, New York and
Vermont.

e)
The Canadian

By Harriet Bernstein

Canart Films Limited have completed
shooting on THE ROWDYMAN, cur-
rently being edited for an early release
next year. This comedy, which revolves
around the life style of a free-wheeling
individual, was filmed entirely in New-
foundland, primarily Corner Brook and

Gordon Pinsent and Will Greer

St. John’s, during a seven-week shoot-
ing schedule.

The budget of $350,000.00 was
co-financed by the Canadian Film
Development Corporation, Agincourt
Productions and Film Associates, and
Film Canada, who will also distribute
the film. With F. R. Crawley as Exec-
utive Producer and Lawrence Dane
producing, Peter Carter directed the
ROWDYMAN from an original screen-
play by Gordon Pinsent who also stars.

Co-starring with Pinsent are Will
Greer, Frank Converse (of the T.V.
series N.Y.P.D.), and Linda Gorenson.
Ed Long was director of Photography,
and Michael Manne is presently editing
at Film House in Toronto where all
post-production work is being handled.
The music has not yet been scored. This
colour film was shot with a N.A.B.E.T.
crew.

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Linda Gorenson and Sabena Maydelle

19

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“‘l ong Ago, Tomorrow’ is a ~~ “One will not quickly forget a love
civilized picture, a rarity today. that is so beautiful. ‘Long Ago,
Admiration for high quality acting, Tomorrow’ is a very good picture.
honest and sincere presentation An extremely touching film.”

will belp you fall in love with it.” Soe Ne eee

—Wanda Hale, New York Dally News

“If you have tears, and you will, they are shameless ones, and for this
we pay particular honor to Forbes who adds dimension to talents that
have ranged from ‘Seance On A Wet Afternoon’ to ‘The Wrong Box’.
The supporting cast is excellent; the theme poetic and compassionate”

—Judith Crist, New York Magazine

long ago, tomorrow
Starring Malcolm McDowell, Nanette Newman - Produced by Bruce Cohn. Curtis - Directed by Bryan Forbes
- From Cinema 5